Tag Archives: Extant

No Halt for AMC’s PC period drama

Halt and Catch Fire has averaged around 520,000 viewers per episode
Halt and Catch Fire has averaged around 520,000 viewers per episode

AMC has just greenlit a third season of scripted series Halt and Catch Fire. Created by Christopher Cantwell and Christopher Rogers, the show is a recent period drama that looks at the origins of the personal computer revolution in the early 1980s.

On the face of it, the recommission is a surprise, given the show’s low ratings. Season two’s same-day ratings averaged around 520,000 across a run of 10 episodes. Even when three days’ worth of time-shifted viewing is added in (Live + 3), the show still only managed to attract around 900,000 – making it the lowest-rating original drama on the network.

To put this in perspective, The Walking Dead and Fear The Walking Dead (FTWD) bring audiences in excess of 10 million to AMC. Low Winter Sun, cancelled last year, was running at around 1.2 million – and had a much better response from the 18-49 demographic than Halt.

So why would a savvy network like AMC renew a show that doesn’t seem to be delivering the goods in ratings terms? Well, there are a number of possible explanations. The first is that critics started warming to the show in season two, regarding it as a step up from the first run. So it’s possible AMC views the show as a sleeper – the kind of drama that might suddenly break through into the public consciousness in season three, encouraging new viewers to go back and watch from the start.

Into the Badlands will debut on AMC next month
Into the Badlands will debut on AMC next month

The second is that AMC might have taken a positive view on the profile of the audience. It’s possible Halt and Catch Fire particularly appeals to AMC influencers and evangelists – the kind of hardcore fans who will recommend the channel to friends. As such, the drama may have a value over and above its raw numbers.

Another factor worth noting is that AMC is a subscription-based channel, not an ad-only channel like the big four US broadcast networks. While AMC does make money from ads (and it’s possible advertisers might like Halt), it doesn’t need to make snap decisions about shows – especially at a time when The Walking Dead, FTWD and Better Call Saul are all doing so well for the channel. Somewhere, deep in AMC’s research department, someone may have taken the view that the profile of Halt and Catch Fire is having an additive effect on the overall schedule.

Linked to this point is the positive impact the show could be having on the AMC brand. As the channel showed with Mad Men, which wasn’t a huge ratings success, there is a brand benefit in being seen as a channel that supports quality shows – especially if that support translates into awards. It gives channels the kind of ‘home of quality’ feel that public broadcasters like the BBC and DR in Denmark possess, and that can be a business benefit.

Channels also need to take a view on the overall shape of their slate at any given time. With Mad Men and Hell on Wheels both coming to a close, AMC is probably reluctant to go on a cancellation spree. Turn and Humans were also renewed after delivering modest ratings, so the channel may be waiting to see which of the three manages to raise its game in ratings terms. Alternatively, it may be waiting to see how new shows like Into the Badlands and Preacher perform. If those series do well, then the pressure to axe at least one show will probably grow.

Tyrant has been given a third season on FX
Tyrant has been given a third season on FX

It’s also important to think about the global economics of the AMC business these days. Halt and Catch Fire is a wholly owned show, which means AMC has a vested interest in it doing well. It can use the show on its international network AMC Global and it can sell it to international third parties or to Netflix. In other words, there are several other ways to extract value from the show that have nothing to do with the average audience for season two.

And finally, there is a point to be made about building relationships with talent. While the showrunner on Halt’s first two series, Jonathan Lisco, has left to work on another project, this has opened the door for Cantwell and Rogers to take control of the show they created and co-write. They are clearly delighted to be making a new series for AMC – so it’s just possible their next show may be the one that does the business for the channel. Or maybe other writing talent will look at the recommission and decide AMC is the kind of network they want to take their show to.

In summary, there are reasons why networks sometimes choose to keep ploughing ahead with low-rating shows. Ratings are still the best way to analyse and assess a show’s performance, but in this increasingly complex media market we shouldn’t be too surprised if networks back shows that look destined for the chop. And it makes the job of guessing that much more interesting.

Elsewhere, US cable channel FX has renewed Tyrant for a third season of 10 episodes. This show, created by Gideon Raff and executive produced by Howard Gordon (the team that brought us Homeland), is a political drama loosely based on the life of Syria president Bashar al-Assad. Series two averaged around 1.2 million viewers, but seemed to be getting stronger towards the back end of the run. This view is confirmed by IMDb ratings. While the overall IMDb rating is 7.9, episodes 10, 11 and 12 of season two were all scored by fans at 9 or 9.1 – suggesting a groundswell of support.

George RR Martin's Skin Trade has previously been adapted as a comic
George RR Martin’s Skin Trade novella is being adapted for Cinemax

Another interesting story this week is that HBO sister channel Cinemax has optioned the TV rights to Game of Thrones author George RR Martin’s The Skin Trade, described as an the offbeat werewolf noir novella. Commenting on his blog, Martin said: “The deal is closed, and Cinemax has ordered the pilot script. This being Hollywood, you never know where things will end… but if they like the script, we’ll shoot a pilot, and if they like that, hey, who knows, maybe we’ll get a series on the air. Which would be very cool. Those of you who know the story of Doorways, my ill-fated ABC pilot from the early 90s, may recall that it was Skin Trade that I was actually trying to sell back in 1991, when I flew out to LA for a round of pitch meetings. So we’re a few decades late…”

Some Game of Thrones fans will no doubt be anxious that Skin Trade will distract Martin from finishing writing his masterwork. But he used his blog to assure fans that wouldn’t be the case: “While I would have loved to write the script and run the show myself, that was never really on the cards. I have this book to finish. You know the one…”

The Skin Trade pilot will be written by Kalinda Vazquez, whose credits include Prison Break and Once Upon a Time. Martin will be an executive producer.

Halle Berry in Extant
Halle Berry in Extant

Skin Trade comes under a two-year development deal Martin has with HBO. He has previously said that he is developing a Captain Cosmos series at HBO, with Michael Cassutt writing. Cassutt’s TV credits include The Outer Limits and The Twilight Zone.

Finally, NBC’s new procedural series Blindspot has been rewarded for its good start with an additional nine-episode order. This means it is the first of this year’s new US shows to secure a full-season order. By contrast, Fox has reduced its initial order of 13 episodes on Minority Report to 10. While this doesn’t count as a cancellation, it means the show is the first of this year’s new US titles to know that it won’t be coming back. CBS, meanwhile, has cancelled summer series Extant, starring Halle Berry, after two seasons. Both Minority Report and Extant are Amblin TV shows.

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Time to play the game of Emmys

Netflix’s Orange is the New Black is in the running for a drama Emmy
Netflix’s Orange is the New Black is in the running for a drama Emmy

After a year of amazing ratings success in the US and internationally, HBO’s fantasy drama Game of Thrones has now emerged as the frontrunner at the 2015 Primetime Emmy Awards.

Nominations were revealed yesterday (July 16) and the show racked up 24, including one for outstanding drama series. The next strongest showing came from FX’s American Horror Story: Freak Show, with 19 nominations. HBO’s Olive Kitteridge also did well.

Ranked by network, HBO secured the most nominations, a total of 124. Next highest was ABC with 42, just ahead of NBC and CBS (41 apiece). One of the most interesting stats was Netflix’s 34 nominations, which put it ahead of PBS and AMC. This, combined with numerous nods for Amazon’s Transparent, underlines the growing importance of SVoD platforms in the scripted space.

Games of Thrones’ huge nominations haul is, of course, no guarantee it will win any of the key categories. In the drama series section, it faces tough competition from Netflix’s Orange is the New Black and House of Cards, AMC’s Mad Men and Better Call Saul, Showtime’s Homeland and PBS’s Downton Abbey. Meanwhile, in the outstanding limited series category, the competitors are
 American Crime, American Horror Story: Freak Show, The Honourable Woman, Olive Kitteridge and Wolf Hall.

Olive_Kitteridge_Still
Frances McDormand has an Emmy nomination for her part in Olive Kitteridge

Among the many categories up for grabs, a particularly interesting one is best lead actress in a drama series, which includes two African-Americans, Taraji Henson for Empire and Viola Davis for How To Get Away With Murder. No black actress has ever won the category, so this is a moment when history could be made. Queen Latifah was also nominated for best lead actress in a limited series of movie (Bessie). However, she’ll have to see off tough competition such as Maggie Gyllenhaal (The Honourable Woman) and Frances McDormand (Olive Kitteridge).

There were, of course, scripted series that didn’t feature as much as might have been expected. Initial reaction suggests that shows to have been snubbed include Empire (notwithstanding Henson’s nomination for best actress), Outlander (one nomination in a music category), The Americans, Justified and Jane The Virgin. Interestingly, The Affair received no nominations despite winning Best Television Series Drama at the 2014 Golden Globes.

Still in the US, it’s getting to that point when Fox will have to decide whether to cancel or renew M Night Shyamalan’s thriller series Wayward Pines. With eight episodes down, there are only two left in the first season. It’s hard to second guess what Fox will do, because the ratings picture is complicated by high levels of time-shifted viewing. Currently, for example, the show is getting a live-plus-same-day rating of 3.3-3.4 million. But time-shifted viewing is virtually doubling that number every week. Latest reports suggest that Fox is considering a second season, set in the same world but with a new cast and characters.

Extant
CBS’s Extant, starring Halle Berry, has continued to shed viewers in its second season

 

Another US network summer series that looks less likely to survive is Extant, a sci-fi show that stars Halle Berry as an astronaut who returns from a 13-month solo space mission to find she is inexplicably pregnant. The first season of the show in 2014 rated worse than expected but was saved by the fact that CBS had secured a good streaming rights deal with Amazon. Now in its second season, the show’s ratings have slid still further – despite significant efforts to revitalise it. Even after time-shifted viewing is factored in it still looks like a prime candidate for cancellation. As Deadline says: “It was the lowest premiere live-plus-same-day rating for any scripted series – new or returning – so far this summer. It was also tied with a couple of ABC comedy repeats for the lowest rating for a show on the Big Four networks – original or repeat.”

The main reason for dwelling on Extant is that it is a good indication of how factors beyond ratings performance increasingly play into commissioning decisions. In this case, the involvement of Halle Berry and a secondary rights deal with Amazon were enough to save a show that would otherwise have been axed after its first run. The downside for CBS now is that it is stuck with an underperforming show for another 10 episodes. It is attempting to address Extant’s issues by moving it to a new timeslot, bringing it forward from 22.00 to 21.00 on Wednesdays.

Channel 5 in the UK has picked up seasons one and two of Rookie Blue
Channel 5 in the UK has picked up seasons one and two of Rookie Blue

UK broadcaster Channel 5, owned by Viacom, has just picked up seasons one and two of Rookie Blue from distributor Entertainment One for use on its digital channel 5USA. Due to launch on July 28, this could prove to be a neat piece of business, given the fact that Rookie Blue is still going strong in North America after six seasons. The show is produced in Canada and airs on Global there and on ABC in the US. For ABC, the show works well because it delivers solid ratings at acquisition rather than production prices. Season six started this month, bringing the total episode count to 72. So if 5USA does well with the earlier episodes it can look forward to a long and fruitful relationship with the show.

The show will also fit the profile of 5USA very well. Currently, the channel’s top-rated shows are Chicago PD, Longmire, Law & Order, NCIS and Body of Proof, all US crime procedurals, delivering audiences of 260,000-420,000 in 21.00 and 22.00 slots.

In terms of industry-wide trends affecting scripted, this week’s big story is that Netflix has increased its global subscriber count to 65 million, up 3.3 million on the last quarter. The US subscriber base, now 42 million, was up by 900,000 while international grew by 2.4 million to 23 million. CEO Reed Hastings called the growth “higher-than-expected” and said it was “fuelled by the strength of our original programming slate.” Dramas to have featured on the platform during the past quarter include Marvel’s Daredevil, Sense8 and the third season of Orange is the New Black.

For all its success, Netflix is moving into a challenging phase, characterised by high costs and increased competition. The company expects to spend US$5bn on content in 2016 while expenses for marketing will be nearly US$1bn. With rising costs, Hastings also said the price of subscription may increase soon.

AMC martial arts drama Into the Badlands attracted interest at Comic-Con
AMC martial arts drama Into the Badlands attracted interest at Comic-Con

Finally, AMC has reason to be optimistic about the prospects for its upcoming shows. According to the channel, three trailers unveiled at Comic-Con had managed to attract 24 million views on digital platforms within four days. The season six trailer for The Walking Dead drew 13.8 million, while the trailer for Fear the Walking Dead took 8.2 million.

There was also pretty strong interest in AMC’s upcoming martial arts drama Into the Badlands, which will premiere in November. This attracted 1.95 million views within three days of its release. The Walking Dead was by far the biggest winner at Comic-Con in terms of social media, securing 53% of the Share of Voice on Facebook last weekend, more than double the next highest show.

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